Hrvatski filmski ljetopis, broj 15 (1998) - Hrvatski filmski savez

an important part of the reforms that are being introduced
at institutions of higher learning in order to modernize education.
The study is interdisciplinary and intermedial and its
aim is to join the fine arts tradition with visual research
which is associated with the development of new media and
technologies that contribute to the creative orientation of
artists toward art forms and techniques that are emerging in
art in the 20 th century (photokinetics, electronic art, intermedia,
installations, spacial art, enviornmental art, multivision,
performance, happening, new techniques in communication,
etc.).
UDC: 791.43-2:378(497.5)
Jo{ko Maru{i}
University Study of Animation
The text illustrates the need and the principles of
the study of animation to be introduced at the Academy
of Fine Arts, University of Zagreb.
The text is the introductory part of a wider elaboration on
the animation curriculum. Analytical content: 1. Why a university
study of animation? (A) The schooling of professionals;
(B) Animation as a means of general education; 2. Why
in Zagreb? 3. What kind of a curriculum?
THE CHRONICLE’S CHRONICLE
Vjekoslav Majcen
Chronicle – July/October ’98
Bibliography
Deceased: Branko Bla`ina, Jure Ruljan~i}, Vjenceslav Ore{kovi},
Andro Lu{i~i}
A continuous chronicle of cinema related events in Croatia.
FESTIVALS/SHOWS
UDC: 791.43(437.1/2)
Jurica Pavi~i}
The Czech Film Week in Zagreb
An analysis of contemporary Czech film production
on the occasion of The Week of Contemporary
Czech Film held in Zagreb from September 14 to
20, 1998.
The cycle of contemporary Czech film caused filmophile
pandemonium which Zagreb has not seen in quite a while.
Seven film by a younger generation of Czech authors who
achieved success in the Czech Republic as well as abroad
were: Akumulator 1 and Kolja by Jan Sverak, The Education
of Girls in the Czech Republic by Petar Kolihe and The
Wonderful Messed Up Years by Petar Nikolaev, the omnibus
Twerps by Petar Zelenka, Conspirators of Passion by Jan
[vankmajer and The Forgotten Light by Vladimir Michalek.
Almost all the films reflect a cinematic maturity, quality
schooling and a high degree of professionalism and inventiveness.
This solidity is given to them by their old classics,
excellent film schools, the exceptional Barrandov studio and
good shots. The least it gives them is a mass production,
which is not any greater than Croatia’s average annual output.
The central attraction of the program was the film
Twerps (Knoflikara) by Petar Zelenka which is a cult film in
festival circles. It is obvious that comedies are the Czech’s
strongest point. Not only does Zelenka attest to this, but Jan
Sverak, the author of Kolja and Akumulator 1, as well who
reliance on the grotesque and stylization is very similar to
the mentality of the generation of Croatian authors born
around 1960.
The Week of Czech Film was a wonderful experience that
the better films we want to make ourselves — like Czech
films, are not beyond our reach.
Czech film has also undergone a transformation since it was
completely internationally marginalized until two successes,
Kolja and Knoflikara, did not put them back on the map.
The films shown illustrate that Czech film was not sleeping:
among those making films are primarily new faces. Sverak,
Zelenka and the majority of directors from the Week of
Czech Film are children of the films of the 90’s, and supposedly
there are many of them. This is a signpost for how
Croatia should raise the level of its production until it achieves
a solid average of success. This means making more,
cheaper films, giving projects to young directors and stimulating
the middle generation. With this type of production
politics we could expect a Week of Croatian Film that perhaps
wouldn’t have a Kolja, but would be on the level of other
Czech films.
UDC: 791.61
Hrvatski filmski ljetopis 15/1998.
Dragan Rube{a
Venice Invites Hollywood — The
55th Venice Mostra
A review of the events and a commentary on the
program of the 55th Mostra.
Eastern European films generated the greatest interest at the
Venice festival this year with the awarded films Black Cat,
White Cat (Emir Kusturica, The Silver Lion for Directing)
and The Last Paradise (Luciano Pintilie, The Main Jury
Award), as well as distinguished films by Radu Mihaelanu
(Train de vie), Goran Paskaljevi} (Bure baruta) and Vera
Chytilova (Zamke).
Out of the remaining European films, interest was sparked
by Eric Rohmer’s film Autumn Stories, which was, in the
opinion of the authors present, the best film of this year’s
Mostra. The British selection was weaker than last year’s
and the Italian production was severely criticized for having
a privileged place at the festival. But in spite of this, one Italian
film did triumph. Gianni Amelio’s Cosi ridevano, along
with the Taviani brother’s Tu ridi, was judged the best film
in the Italian program.
Independent American film were the most represented at
the festival. The greatest interest was awakened by Abel Ferrara’s
latest film New Rose Hotel, based on a short story be
cyberpunk guru William Gibson. In comparison to the festival
at Cannes, the author observes that the Venetian festival
seems much poorer, but that a certain amount of glimmer
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